DOCSLIB.ORG

Has There Ever, in the History of 20Th Century Music, Ever Been a More Influential Organisation Than That of the American Folk Blues Festivals (AFBF)?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Has There Ever, in the History of 20Th Century Music, Ever Been a More Influential Organisation Than That of the American Folk Blues Festivals (AFBF)? Muddy Waters John Lee Hooker Sonny Boy Williamson Willie Dixon, Buddy Guy Otis Spann a.m.m. ACT 6000-2 Release Date: 24. May 2004 Has there ever, in the history of 20th century music, ever been a more influential organisation than that of the American Folk Blues Festivals (AFBF)? Founded in 1962, this series has surely had a lasting effect on the European, American, and indeed interational, music scenes. Where would hip hop, jazz, funk, rock, heavy metal or world music be without the blues? Blues is the foundation of the popular music of the 20th century. Its intensity, rhythms and harmonies have affected many peoples and culture, up to and including the music of Africa, the alkand and Spanish flamenco. The blues captures the sentiments of the people in a nutshell. Of course, in the beginning it was just a feeling. But not just of the blues, but also of emptiness. The idea of tracking down and bringing surviving blues legends to Europe was that of jazz publicist Joachim Ernst Berendt at the end of the 1950s. The new style of rock 'n' roll was beginning to take a foothold, jazz was in the mean time beginning to be celebrated in Europe, but all too little was heard of the blues, despite itself being the musical foundation of jazz and rock 'n' roll. It was up to Horst Lippmann and his partner Fritz Rau to realise the idea of the AFBF and bring the best Afro- american blues performers to concert halls (!) for a European audience. First they contacted Willie Dixon. The influential composer and bassist knew the Chicago blues scene like no other, and he was also able to put them in touch with musicians of the Deep South. The first festival was in 1962. The American Folk Blues Festival took Europe by storm. In the years 1962 to 1972 the blues greats were introduced to European audiences. In the London audience could be found beat rebels such as Mick Jagger, Eric Burdon, Eric Clapton and Steve Winwood. Those who, until then, only knew the blues from recordings could now experience the legends live. In Britain, this led to a blues explosion. The Rolling Stones, The Animals, followed later by the likes of Fleetwood Mac, Led Zeppelin and others, were the results. And the British blues boom started a new interest in the blues back in America, which has continued to this day. Who would have thought back in 1962 that this success could have led to 2003 being called, officially, the "Year of the Blues" in the USA? Young producer Siggi Loch attended the 1962 Hamburg concert and then produced AFBF albums from 1963 to 1966 for Fontana (part of Phonogram). As well as the official recordings, there was a whole range of additional material, that couldn't be included on the LPs, due to the limited length of the format. When Siggi Loch founded his own label ACT in 1992, he started talking to Horst Lippmann and found in his archive the original masters of the legendary AFBF concerts. This led to the release in 1993 of the ACT CDs Blues Giants and the Lost Tapes. They add to AFBF documentation by including the most relevant highlights. While the original releases were in the interim unavailable now both CDs are released as a double CD. Once again, we are able to hear these recordings from 1963, 1964 and 1965 with legends such as Muddy Waters, Sonny Boy Williamson, Lonnie Johnson, Big Joe Williams, John Lee Hooker, Memphis Slim and Willie Dixon. Muddy Waters, solo and unaccompanied, is as much as experience to be treasured as the confrontation of harmonica virtuoso Sonny Boy Williamson with the elegant jazzy phrasing of guitarist Lonnie Johnson. An emotionally intense experience of the highest order, in spite of, or perhaps because of, the concert hall, but also alternate takes and outtakes of the studio recordings made in a concentrated and more intimate atmosphere. A small titbit of an experience at a particular time and place which still works today. MUDDY WATERS / JOHN LEE HOOKER / WILLIE DIXON / SONNY BOY WILLIAMSON / BUDDY GUY / OTIS SPANN / LONNIE JOHNSON / BIG JOE WILLIAMS u.v.a. The Two-CD-Set (2 for the price of 1): Lost Blues Tapes / More American Folk Blues Tapes `63-`65 – Various Artists - ACT 6000-2 – LC 07644 DISC 1 DISC 2 01 Blues Everywhere - Memphis Slim 01 Della Mae - John Lee Hooker 02 John Henry - Memphis Slim & Willie Dixon 02 Hound Dog - Big Mama Thornton 03 Captain Captain - Muddy Waters 03 Captain Captain - Muddy Waters* 04 Catfish Blues - Muddy Waters 04 I Got To Cut Out - Sonny Boy Williamson** 05 In The City - Muddy Waters 05 Blues Harp Shuffle - Big Walter “”Horton** 06 I Feel Like ’- Muddy Waters 06 Strong Brain - Willie Dixon** 07 Your Love For Me Is True - Sonny Boy Williamson 07 Big Leg Women - Willie Dixon** 08 ’Misuse Me - Sonny Boy Williamson 08 You Got Me Running - Sugar Pie Desanto** 09 ’’Tired - Sonny Boy Williamson 09 South Side Jump - Buddy Guy 10 Going Down Slow - Otis Spann 10 If I Get Lucky - J.B. Lenoir 11 Careless Love - Lonnie Johnson 11 Got A Letter This Morning - Fred McDowell 12 C.C. Rider - Lonnie Johnson 12 Sail On - Roosevelt Sykes 13 T.B. Blues - Victoria Spivey 13 Memphis Boogie - Memphis Slim* 14 Big Roll Blues - Big Joe Williams 14 Your Best ’Gone - Sleepy John Estes & Hammie Nixon** 15 Back In The Bottom - Big Joe Williams 15 Farewell Baby - Doctor Ross 16 Baby Please Don´t Go - Big Joe Williams 16 Della Mae - John Lee Hooker Live recorded on October 13, 1963 in Bremen Recorded on October 7, 1965 in Hamburg * Recorded on October 13, 1963 in Bremen ** Recorded on October 9, 1964 in Hamburg Produced by Siegfried Loch, Co-Produced by: Horst Lippman Distributor: edel Contraire (D), edel Records (A), Musikvertrieb (CH), Night & Day (F), Proper Music (UK), Karonte (E), Dargil (P), Musikklosen (N), Amigo (Scan), A&N Records (GR), Equinox Music (TR), Culture Records (Benelux), , Jazzworld (HK GIGI Distribution (PL), AS Jahipaun (EST), C&L Records (ROK)), P&J Music (CZ),Distribution Fusion III (CAN) CD Bar (H) Ehrengutstrasse 28, 80469 München, Germany Phone +49 89 72 94 92 0, Fax +49 89 72 94 92 11 e-mail: [email protected] Visit our website at http://www.actmusic.com.
Load more

Recommended publications
  • Aretha Franklin's Gendered Re-Authoring of Otis Redding's
    Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form.
    [Show full text]
  • Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
    03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation.
    [Show full text]
  • WGLT Program Guide, August-September, 1998
    Illinois State University ISU ReD: Research and eData WGLT Program Guides Arts and Sciences Fall 8-1-1998 WGLT Program Guide, August-September, 1998 Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/wgltpg Recommended Citation Illinois State University, "WGLT Program Guide, August-September, 1998" (1998). WGLT Program Guides. 161. https://ir.library.illinoisstate.edu/wgltpg/161 This Book is brought to you for free and open access by the Arts and Sciences at ISU ReD: Research and eData. It has been accepted for inclusion in WGLT Program Guides by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ·.·. time Blues . Summ . 1998 Program Gu1 'de for August / September GLT Staff Profile: Music Director p1iorities were together because I didn't want one thing to falter because of the other. and Blues Host, Marc Boon LK: What does it take to make a good blues DJ? MB:: Being able to connect with your audience. I know a lot of people in this Marc is a native of Central Illinois. While in high school, community who are the same age as I am and we all grew up listening to the same he studied theatre, but his heart eventually led him to music. I think with my particular blues, the shades I paint with, [ try to incorporate pursue his love of music. In 1985, he came to Illinois some of the old rock we used to listen to as kids. I think that'll really grab their ear State University and got a job at GLT as a part-time DJ.
    [Show full text]
  • Who Reveled in the Blues-Rock of Such Groups As the Stones and Cream Were Often Unaware of the Man Responsible for the Songs and Th E Sound
    Rock audiences who reveled in the blues-rock of such groups as the Stones and Cream were often unaware of the man responsible for the songs and th e sound. The Poet Laureate of the Blues, he championed the blues and took the first live blues music to Europe. here never was anybody quite like musicians listened to the Chess recordings, adapted the Willie Dixon. The first thing you saw songs to their own high-powered sensibilities, and so when you met him was that huge grin began the blues revival. atop the larger-than-life body; his enor­ A short list of Willie Dixon’s compositions, and a few mous personal warmth, combined with of the artists who covered them, demonstrates the depth Tan inexhaustible fund of street-smart music business wis­ and breadth of his musical influence. As a rule the chain dom and a tireless devotion to promoting awareness of the of discovery was: first the song would be recorded by an blues, won him friends and admirers everywhere he went. American blues artist; then, perhaps, an English rock Born in 1915 in Vicksburg, Mississippi, his early ca­ group would cover that, and then other American blues or reer included a stint with a gospel group; he was already pop artists, hearing the English cover version, would jump writing songs by age sixteen, and would continue to do so behind it T’m Your Hoochie Coochie Man” was written in until at the end of his life he had over 500 compositions 1953 for Muddy Waters, whose version remains the to his credit.
    [Show full text]
  • Sleepy John Estes with Noah Lewis & Yank Rachel / Gus Cannon
    Sleepy John Estes First Recordings With Lewis & Rachel / The Legendary 1928-1930 Recordings mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: First Recordings With Lewis & Rachel / The Legendary 1928-1930 Recordings Country: UK Released: 2002 MP3 version RAR size: 1878 mb FLAC version RAR size: 1650 mb WMA version RAR size: 1953 mb Rating: 4.1 Votes: 526 Other Formats: WAV MPC APE AHX AUD MP2 FLAC Tracklist Hide Credits Broken Hearted, Ragged And Dirty, Too 1-1 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* The Girl I Love, She Got Long Curly Hair 1-2 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Divin' Duck Blues 1-3 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* –John Estes* And Little Sarah 1-4 James Rachel* Guitar – John Estes*Piano – Jab JonesVocals, Mandolin – James Rachel* Black Mattie Blues 1-5 –John Estes* Harmonica – 'Tee'Mandolin – James Rachel*Vocals, Guitar – John Estes* T-Bone Steak Blues –John Estes* And 1-6 Guitar – John Estes*Harmonica – 'Tee'Vocals, Mandolin – James James Rachel* Rachel* Chickasaw Special 1-7 –Noah Lewis Harmonica – Noah Lewis Devil In The Woodpile 1-8 –Noah Lewis Harmonica, Speech – Noah Lewis Milk Cow Blues 1-9 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Street Car Blues 1-10 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Expressman Blues 1-11 –John Estes* Guitar – John Estes*Piano – Jab JonesVocals, Mandolin
    [Show full text]
  • Changemakers: Biographies of African Americans in San Francisco Who Made a Difference
    The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Leo T. McCarthy Center for Public Service and McCarthy Center Student Scholarship the Common Good 2020 Changemakers: Biographies of African Americans in San Francisco Who Made a Difference David Donahue Follow this and additional works at: https://repository.usfca.edu/mccarthy_stu Part of the History Commons CHANGEMAKERS AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE Biographies inspired by San Francisco’s Ella Hill Hutch Community Center murals researched, written, and edited by the University of San Francisco’s Martín-Baró Scholars and Esther Madríz Diversity Scholars CHANGEMAKERS: AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE © 2020 First edition, second printing University of San Francisco 2130 Fulton Street San Francisco, CA 94117 Published with the generous support of the Walter and Elise Haas Fund, Engage San Francisco, The Leo T. McCarthy Center for Public Service and the Common Good, The University of San Francisco College of Arts and Sciences, University of San Francisco Student Housing and Residential Education The front cover features a 1992 portrait of Ella Hill Hutch, painted by Eugene E. White The Inspiration Murals were painted in 1999 by Josef Norris, curated by Leonard ‘Lefty’ Gordon and Wendy Nelder, and supported by the San Francisco Arts Commission and the Mayor’s Offi ce Neighborhood Beautifi cation Project Grateful acknowledgment is made to the many contributors who made this book possible. Please see the back pages for more acknowledgments. The opinions expressed herein represent the voices of students at the University of San Francisco and do not necessarily refl ect the opinions of the University or our sponsors.
    [Show full text]
  • PRESSE-INFO Tropical Music Alexander Trofimow Tropical Music Fon +49-6421-26312 Fax -21791 [email protected]
    PRESSE-INFO Tropical Music Alexander Trofimow Tropical Music Fon +49-6421-26312 Fax -21791 [email protected] www.tropical-music.com LEGENDS OF THE FAMOUS LIPPMAN + RAU FESTIVALS DVD 3 Legends of the American Folk Blues Festivals DVD Tropical Music 68.364 (764.916.836.49) Im Vertrieb von SONY BMG Music Entertainment DVD 9; PAL; Alle Regionen; Farbe/Schwarz-Weiß; Dauer 162:10 Min.; Format 4/3, Untertitel in Englisch Digipack mit Booklet mit 56 Seiten in Englisch FSK ohne Altersbeschränkung VÖ: 30.01.2009 Weitere Informationen unter www.legends-of.de American Folk Blues Festival 1967 mit Little Walter: My Babe / Untitled / Mean Old World Koko Taylor: Will My Man Be Home Tonight / Wang Dang Doodle / What Kind Of Man Is This Bukka White: Aberdeen Mississippi Blues Skip James: Hard Times Killing Floor Son House: Death Letter Blues Sonny Terry & Brownie McGhee: Born With The Blues / Rock Island Line Hound Dog Taylor: Shake Your Money Maker Dillard Crume & Odie Payne Jr. Bonus: Interviews mit Bruce Jackson, Sonny Terry & Brownie McGhee, Horst Lippmann Dauer: 54:00 Min American Folk Blues Festival 1968 mit John Lee Hooker: Serves Me Right To Suffer T-Bone Walker with Eddie Taylor Band & John Lee Hooker: Maudy / Boom Boom / Stormy Monday Blues / I Wonder Why / Shake It Baby Big Joe Williams: Cryin’ Shame / Baby Please Don’t Go Big “Shaky” Walter Horton: Juke Jimmy Reed: Big Boss Man Curtis Jones: Cherie Bonus: Interviews mit Al Smith und Fritz Rau Dauer: 52:00 Min American Folk Blues Festival 1969 on tour Tour-Dokumentation von Hanno Brühl mit John Jackson: You’re The Best Friend / You Ain’t No Woman / John Henry Earl Hooker; Off The Hook / Walking The Floor / Rocket 88 Magic Sam: All My Love Juke Boy Bonner: Going Back To The Country Clifton & Cleveland Chenier: You Got Me Walking On The Floor / Zydeco Et Pas Sale Alex Moore; Whistling Blues Carey Bell: Love Ain’t A Play Thing Interviews Dauer: 56:10 Min Bereits 1962 hatten Horst Lippmann und Fritz Rau das erste American Folk Blues Festival veranstaltet.
    [Show full text]
  • The John Ulrich Piano Series Presents
    The John Ulrich Piano Series Presents Sunday, November 1, at 2:00 PM Advanced reservations required $25.00 per person “Applying his strong left hand to jazz standards and boogie woogie alike, for a most appreciative audience” Jazz Times French pianist Philippe LeJeune is a perfect example of the mixture of jazz and blues that was especially an important strain in the jazz tradition. In 1968 the young pianist attended a concert in Reims, France, by master boogie-woogie and blues pianist Memphis Slim, and immediately put an end to his classical efforts and began teaching himself the blues, scouring local record shops for LP’s by boogie woogie greats. In 1980 he was invited by Memphis Slim who had been a Parisian citizen since 1962 to cut an album titled Dialog In Boogie as a piano duet. Philippe is one of those rare European pianists who is able to take part in the grand tradition of American jazz mixing swing, a sense of melody and the blues. His playing is always a brilliant assortment of sobriety and expressiveness. He plays blues and boogie-woogie with a light, almost delicate touch, and weaves subtle, varied right-hand figures around the solid left- hand boogie-woogie beat. His repertoire ranges from classic barrelhouse boogie woogie piano to Duke Ellington and Horace Silver tunes as well those of Milt Jackson and George Gershwin. Philippe explores an impressive variety of blues styles and grooves, leaving listeners with a happy feeling. Philippe LeJeune has released six CD’s in the United States, among them a live recording in trio at the Blue Moon in Houston, Texas.
    [Show full text]
  • Wavelength (October 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 10-1981 Wavelength (October 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (October 1981) 12 https://scholarworks.uno.edu/wavelength/12 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Pipes of Pan Presents ... A best seller. versus the best. icro-Acoustics Bose 301 FRM-3dx *33QOOper patr. *34900per pair Compare these two speakers, and you'd probably expect the one on the left - with the lower price - to be the better seller. You'd be right ... but is it the better value? Before you aecide, it pays to consider how much more a little more money will bu~: Comfare bass. The new FRM-3dx uses a twin-ducted enclosure with thicker cabine panels and larger cubic volume for rich, full bass. Compare highs. The new FRM-3dx1s unique Vari-AxiSTM control system, damped isolated tweeter suspension and rim-damped cone give lifelike h1ghs. Compare warranties. The new FRM-3dx is warrantied twice as long. The Micro-Acoustics new FRM-3dx. When you compare, there's really no com­ parison. Quality worth a 10-year warranty Micro-Acoustics Reg. $349.00 Bose 301" FRM·3dx Tweeter One, fixed. One, rotatable, rim·damped. Tweeter Attached Isolated from SALE NOW directly to baffle.
    [Show full text]
  • “Bo Diddley” and “I'm a Man” (1955)
    “Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets.
    [Show full text]
  • THE SOCIOLOGY of AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: the 3 Theoretical Perspectives of Sociol
    THE SOCIOLOGY OF AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: The 3 Theoretical Perspectives of Sociology Part II: Origins of 20th Century American Popular Music: Roots of Anglo & African-American Music, Minstrelsy, the Blues & Ragtime Unit 2 Jazz: New Orleans, the Swing era, Bebop & Beyond (1920s-present) Unit 3 Rock & Roll (1950s-present) Unit 4 Country Music & The Urban Folk Revival (1920s-present) Unit 5 Soul, Motown & Funk (1950s-1970s) Unit 6 Hip-Hop & Rap (1970s-present) GRADING Grades will be based on the following: 1. tests/quizzes (50% of semester grade) 2. homework/classwork assignments (20% of semester grade) 3. Artist Spotlight Project (20% of semester grade) 4. class participation/behavior (10% of semester grade) Assignments must be turned in on time to earn full credit. You will receive half credit for assignments turned in one class period after the due date, and no credit will be given for assignments turned in after this point. If you know you are going to miss class, it is your responsibility to contact me regarding make-up assignments or tests. If you have any questions, please see me. STUDENTS WILL NOT BE PERMITTED TO TAKE MAKE-UP UNIT TESTS OR FINAL EXAMS IF THEIR ABSENCE ON THE ORIGINAL TEST DAY IS UNEXCUSED. Test/quiz dates are clearly posted on the board next to the agenda and on the online class calendar (see class website homepage). Therefore, THERE ARE NO EXCUSES FOR NOT KNOWING TEST/QUIZ DATES. IF YOU ARE PRESENT IN CLASS ON A TEST DAY, YOU MUST TAKE THE TEST.
    [Show full text]
  • Eine Heimat Für Armstrong Und Co
    DEUTSCHLANDFUNK Sendung: Hörspiel/Hintergrund Kultur Dienstag, 14.07.2009 Redaktion: Hermann Theißen 19.15 – 20.00 Uhr „Eine Heimat für Armstrong & Co“ Das Blues- und Jazzarchiv Eisenach Von Sylvia Systermans URHEBERRECHTLICHER HINWEIS Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. Deutschlandradio - Unkorrigiertes Manuskript - 2 Ansage: „Eine Heimat für Armstrong & Co“ Das Blues- und Jazzarchiv Eisenach Ein Feature von Sylvia Systermans Musik: mit Schlagzeuger Trevor Richards Atmo: Schritte, Aufschließen von Tür / Schritte durch Raum O-Ton Lorenz: Das ist das Schlagzeug von dem Ray Bauduc. Er hat jetzt die Felle geschickt. Das Schlagzeug ist hundert Jahre alt, das ist einfach unglaublich. Wir sind froh, dass das hier gelandet ist über den Umweg von New Orleans. Sprecherin: Reinhard Lorenz in einem kleinen Raum in der Alten Mälzerei, Jazzarchiv Eisenach. Um ihn rum lädierte Trommeln, verbeulte Becken, rostige Gestänge. Musik: Backwater Blues mit Big Bill Broonzy O-Ton Lorenz: Das ist von Fred Coleman, also auch einem der Schlagzeuglehrer und Ikonen von Trevor Richards, als er in New Orleans gelebt hat. Das ist alles durch Kathrina zerstört und das haben wir jetzt leer gemacht und gesäubert, da waren die Trommeln drin, das ist schon kreuz und quer durch die Welt. Musik: Backwater Blues mit Big Bill Broonzy Sprecherin: Trevor Richards. Schlagzeuger. Hat gerettet, was zu retten war. Einen ganzen Container von New Orleans nach Eisenach verschifft. Aufgequollene Bücher, Noten, ramponierte Schlagzeugsets. 8000 Schallplatten in verdreckten, triefnassen Hüllen.
    [Show full text]